8/31/2024 10:15:40 PM |
| Changed Course |
CATALOG INFORMATION
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Discipline and Nbr:
MUSC 2C | Title:
CHROMATIC HARMONY 1 |
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Full Title:
Chromatic Harmony 1 |
Last Reviewed:4/22/2019 |
Units | Course Hours per Week | | Nbr of Weeks | Course Hours Total |
Maximum | 3.00 | Lecture Scheduled | 3.00 | 17.5 max. | Lecture Scheduled | 52.50 |
Minimum | 3.00 | Lab Scheduled | 0 | 17.5 min. | Lab Scheduled | 0 |
| Contact DHR | 0 | | Contact DHR | 0 |
| Contact Total | 3.00 | | Contact Total | 52.50 |
|
| Non-contact DHR | 0 | | Non-contact DHR Total | 0 |
| Total Out of Class Hours: 105.00 | Total Student Learning Hours: 157.50 | |
Title 5 Category:
AA Degree Applicable
Grading:
Grade Only
Repeatability:
00 - Two Repeats if Grade was D, F, NC, or NP
Also Listed As:
Formerly:
MUS 2C
Catalog Description:
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First semester of a two-part study of chromaticism in common-practice harmony. Topics include: dominant and non-dominant seventh chords, secondary dominant and leading-tone chords, tonicization, modulation, and binary and ternary forms.
Prerequisites/Corequisites:
Course Completion of MUSC 2B ( or MUS 2B)
Recommended Preparation:
Concurrent enrollment in MUSC 3C AND concurrent private or classroom piano study as recommended.
Limits on Enrollment:
Schedule of Classes Information
Description:
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First semester of a two-part study of chromaticism in common-practice harmony. Topics include: dominant and non-dominant seventh chords, secondary dominant and leading-tone chords, tonicization, modulation and binary and ternary forms.
(Grade Only)
Prerequisites:Course Completion of MUSC 2B ( or MUS 2B)
Recommended:Concurrent enrollment in MUSC 3C AND concurrent private or classroom piano study as recommended.
Limits on Enrollment:
Transfer Credit:CSU;UC.
Repeatability:00 - Two Repeats if Grade was D, F, NC, or NP
ARTICULATION, MAJOR, and CERTIFICATION INFORMATION
Associate Degree: | Effective: | | Inactive: | |
Area: | | |
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CSU GE: | Transfer Area | | Effective: | Inactive: |
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IGETC: | Transfer Area | | Effective: | Inactive: |
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CSU Transfer: | Transferable | Effective: | Fall 1981 | Inactive: | |
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UC Transfer: | Transferable | Effective: | Fall 1981 | Inactive: | |
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C-ID: |
CID Descriptor: MUS 140 | Music Theory III | SRJC Equivalent Course(s): MUSC2C |
Certificate/Major Applicable:
Major Applicable Course
COURSE CONTENT
Outcomes and Objectives:
At the conclusion of this course, the student should be able to:
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Upon completion of this course, the student will be able to:
1. Identify, construct, and utilize dominant and non-dominant seventh
chords in root position and inversion.
2. Identify, construct, and utilize secondary dominant and leading-tone-
seventh chords.
3. Analyze and explain tonicization, common-chord modulation, and other
modulatory techniques.
4. Analyze a figured bass line into a complete four-part arrangement
utilizing these harmonic devices.
5. Harmonize a given melody in four parts utilizing these harmonic
devices.
6. Analyze, compare, and contrast musical forms including binary,
ternary, rounded binary, and other formal designs.
Topics and Scope
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I. The Dominant Seventh Chord
A. General voice-leading considerations
B. The V7 in root position and inversions
C. The V7 in three parts
D. Other resolutions of the V7
E. The approach to the 7th
II. Non-Dominant Seventh Chords
A. The II7 chord
B. The VII7 chord
C. The IV7 chord
D. The VI7 chord
E. The I7 chord
F. The III7 chord
G. Seventh chords and the circle-of fifths progression
III. Secondary Dominants
A. Chromaticism and altered chords
B. Spelling secondary dominant chords
C. Recognizing secondary dominants in context
IV. Secondary Leading-Tone Chords
A. Spelling secondary leading-tone chords
B. Recognizing secondary leading-tone chords in context
C. Sequences involving secondary functions
D. Deceptive resolutions of secondary functions
E. Other secondary functions
V. Modulations Using Diatonic Common Chords
A. Modulation and change of key
B. Modulation and tonicization
C. Key relationships
D. Common-chord modulation
VI. Other Modulatory Techniques
A. Altered chords as common chords
B. Sequential modulation
C. Modulation by common tone
D. Monophonic modulation
E. Direct modulation
VII. Binary and Ternary Forms
A. Formal terminology
B. Binary forms
C. Ternary forms
D. Rounded binary forms
E. 12-bar blues
F. Other formal designs
Assignments:
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1. Workbook assignments in part writing and harmonization (3-5 pp. per
week).
2. Harmonic and formal analysis of excerpts from compositions of the
common-practice era (2-3 per week).
3. 6-8 chapter quizzes.
4. 2 major composition projects that utilize concepts learned in class.
5. Comprehensive midterm and final exams.
Methods of Evaluation/Basis of Grade.
Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing. | Writing 0 - 0% |
None | |
This is a degree applicable course but assessment tools based on writing are not included because problem solving assessments are more appropriate for this course. |
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Problem solving: Assessment tools, other than exams, that demonstrate competence in computational or non-computational problem solving skills. | Problem Solving 25 - 40% |
Homework problems | |
Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams. | Skill Demonstrations 0 - 0% |
None | |
Exams: All forms of formal testing, other than skill performance exams. | Exams 40 - 60% |
Music notation, arranging, and composition | |
Other: Includes any assessment tools that do not logically fit into the above categories. | Other Category 10 - 20% |
Attendance and participation | |
Representative Textbooks and Materials:
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Kostka, Steven and Dorothy Payne. Tonal Harmony. 6th ed. McGraw Hill, 2009.
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